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Hace 7 horas que estoy haciendo un render, y tiene para rato. Y me acordé de una idea que tuve hace tiempo, sobre los renders que no llegan a "nacer", renders interminables que nunca llegarán a conformar la imagen final, y de los cuales sólo puedo rescatar el intento, en esta imagen que representa el cálculo de iluminación global:
Created using LDD2POV, taking over six hours to render at this size. It would have been great if it were possible to apply decorations to microfigs...
7mm Railiner render, drawn in the same way as the Campbell's and Procor wagons and designed to be printed by Shapeways and have lorry trailer curtain sides fitted. A bonus is this wagon is shorter than the Campbell's wagon and the lorry trailers and the bit left over is long enough to add onto the Procor wagon. I did previously get this wagon printed with an open roof and ends but modified to make it easier to complete. I already have the main transfers for this wagon, just need to make the end boards.
I'm a bit listless right now in my building. I haven't latched on to a project that grabs me. The contenders of late are shown here, All of them are exploratory renders only. These are also in addition to all the other renders that have yet to be built!
A late September 2018 visit to Packwood House, another National Trust property. Been meaning to visit this one myself for a while now!
A nice cool Sunday afternoon to visit Packwood.
Packwood House is a timber-framed Tudor manor house near Lapworth, Warwickshire. Owned by the National Trust since 1941, the house is a Grade I listed building. It has a wealth of tapestries and fine furniture, and is known for the garden of yews.
The house began as a modest timber-framed farmhouse constructed for John Fetherston between 1556 and 1560. The last member of the Fetherston family died in 1876. In 1904 the house was purchased by Birmingham industrialist Alfred Ash. It was inherited by Graham Baron Ash (Baron in this case being a name not a title) in 1925, who spent the following two decades creating a house of Tudor character. He purchased an extensive collection of 16th- and 17th-century furniture, some obtained from nearby Baddesley Clinton. The great barn of the farm was converted into a Tudor-style hall with sprung floor for dancing, and was connected to the main house by the addition of a Long Gallery in 1931.
In 1941, Ash donated the house and gardens to the National Trust in memory of his parents but continued to live in the house until 1947 when he moved to Wingfield Castle.
Grade I listed building.
Packwood House and Outbuildings to North East
Listing Text
LAPWORTH PACKWOOD LANE
SP17SE (West side)
Packwood
1/43 Packwood House and outbuildings
11/04/67 to NE
(Formerly listed as Packwood
House)
GV
Includes that part formerly separately listed as Outbuildings to north-east.
House and outbuildings. Late C16 house; mid C17 outbuilding range; early C20
alterations and additions, including Long Gallery and Great Hall (c.1931) for
Graham Baron Ash. House: render, probably on brick, to ground floor; render,
probably on timber framing to first floor; old plain-tile complex cross-gabled
roof; various brick stacks. 2 storeys and attic; 4-bay range. 2 storeys and
attic porch to left of centre with Tudor-arched outer doorway with hoodmould.
Plank door. C20 five-light wood mullion and transom window to ground floor left.
C20 seven-light wood mullion and transom window to ground floor right. C20
5-light wood mullion and transom hall window with 4 rows of lights to right of
centre. C20 four-light wood mullion and transom window to left. C20 five-light
wood mullion and transom window to right. C20 three-light wood mullion and
transom window to first floor of porch. C20 three-light mullion windows to attic
cross-gables. South front: 2 storeys and attic; 3-window range. 4-centre arched
doorway to centre with plank studded door. C20 five-light wood mullion and
transom windows to ground floor left and right. C20 three-light wood mullion and
transom window to first floor centre. C20 four-light wood mullion and transom
windows to first floorleft and right. C20 three-light wood mullion windows to
attic cross-gables. West front: 2-storey, 3-window range. 2-storey porch to
centre, having stone Tudor-arch outer doorway with hoodmould. Plank panelled and
studded door. C20 three-light wood mullion and transom windows to ground and
first floor left. C20 four-light wood mullion and transom windows to ground and
first floor right. C20 three-light wood mullion and transom window to first
floor of porch. Great Hall wing: red brick; old plain-tile roof; various brick
stacks. 2-storey, 5-bay hall range with single-storey, 3-bay link range. Regular
fenestration of early C20 stone mullion windows and stone mullion and transom
windows. Outbuilding range: red brick, with areas of red brick with flared
headers in Flemish bond, and with some diaper work, old plain-tile roof; various
brick stacks. South front: 2-storey, 3-window range to left; single storey and
attic. 4-bay range to right with gable end of cross-wing to right. 4-centre
arched doorway with plank door to centre of 2-storey range. having brick pediment
gable above. 4-light wood mullion and transom window to Tudor-arched opening to
left. 3-light casement to right. 2-light wood casement to Tudor-arched opening to
first floor left. Plank doors to right, and to right of centre of single storey
and attic range. Blocked door to left. 3-light casement to left of centre. Brick
pilaster strips divide bays. Oval brick recesses above doors to left, and to
right of centre. Cut brick cornice to eaves. Pediment-topped doors to left,
and to right of centre. Cutbrick cornice to eaves. Pediment-topped painted brick
sundial panel to left. End of cross-wing to right has irregular fenestration,
and clock face dated 1817. East front of cross-wing: red brick with flared
headers in Flemish bond; old plain tile roof; brick ridge stack to right of
centre. Single storey and attic; 9-bay range. Double plank doors to segmental
brick arched carriageway to left of centre. Bays divided by brick pilaster
strips. Transom windows to second and seventh bays having oval brick recesses
above. 2-light stone mullion windows to first and third bays. 4 gabled dormer.
Brick gable above carriageway having painted sundial and 2-light wood casement
above. Louvred bell turrets to ridge at left of centre and left, that to left
having windvane. Interior: early C20 staircase from ground to first floors. Much
of the panelling in the house was brought in by Graham Baron Ash. The Great Hall
has a 5-bay upper-cruck roof. The stone fireplace and plaster overmantel in the
Great Hall were brought in from a wine shop in Stratford-upon-Avon. Stained glass
medallions to many windows are C17 Flemish and came from Culham House in
Oxfordshire. The house contains a good collection of furniture, including
various pieces from Baddesley Clinton (q.v.).
(Buildings of England: Warwickshire: 1966. pp370-3701; Packwood House: National
Trust guide book, 1987)
[ 18]
Listing NGR: SP1735272239
This text is from the original listing, and may not necessarily reflect the current setting of the building.
Also known as Mr Ash's House.
Dining Room
Dewailly Cloister Roof - Amiens -France
HDA : Architect
Client : Ville d’Amiens
Architect: H²O& HDA
Date : 2007
See more at : www.hda-paris.com/
Taïkoo Hui - Tianhe, Guangzhou, Guangdong, China
HDA : Specialist Design consultants
Client : Swire Properties Inc.
Architect: Arquitectonica
Date : 2005 - 2010
See more at : www.hda-paris.com/
Finally finished recreating my SHIPtember 2020 entry, Dusk Adder, in Studio and rendered it today. Heavily influenced by Red M's "Sturgeon" (flic.kr/p/2iKeTTC) and LEGOLIZE IT MAN's "muulla" (flic.kr/p/yhRUN8)
The Final render of my animation, I really enjoyed the project overall. I felt going through the stages of creating the character to rigging to skinning and painting weights really helped me to understand how it all works and how to create a flawless (or near flawless) model. There were major problems along the way, first hurdle was getting the character right, I went through 3 iterations of characters, there the first 2 didnt feel quite right or its was the style I was going for.
Finally it got to the stage where I was happy with the devil shown above, I ended up using an old joker model for reference, this worked well and allowed for major characterisations, with a large area to the mouth and a long pointy face, I felt it was perfect for what I wanted. By that time I was meant to have started animating, so I started rigging and blend shapes as fast as possible, I followed a great tutorial on rigging from digital tutors, learnt all about naming conventions and how they can help select many joints at once, how to mirror joints and their names as well so R becomes L.
I felt I rushed the rigging stages of the character, it definitely shows in the animation, I had no neck movement and had to compensate with the body, also the hands/arms, I didnt put pole vectors on them which shows again, not being able to rotate the hands and arms fully, this really affected the flow.
I also had issues with the computers, when it came to skinning, I kept losing work or the university computers had major issues for about 5 days....sometimes I couldn't open my file, there was a save file bug, so if you tried to save maya it crashed, this was even with a blank scene.
But re-doing the skinning stage helped me learn a lot about the modelling and rigging, making sure the topology is correct for this stage is a must.
Finally getting to the animation, this I really enjoyed!
I changed the quote because I didnt want to use the original audio clip, it was boring and had nothing fun or exciting about it. My idea wasn't very fleshed out and I was running out of time. I searched for a funny devil quote and came across the cow and chicken one I used in the final product.
There are some obvious problems with the animation, some of the mouth movements don't match the dialogue, had I done another polish pass on the animation I would have sorted this out.. I wanted to do more with the arms, for example when the devil says "Im naked" I wanted the devil to be looking at his nails, but again a rigging problem.
The hands also float through the table but another time management issue, so I ignored it.
There is an issue with the hello at the start, I think its the arc at of the head, because the neck doesn't move it was hard to exaggerate this. I tried to offset the head and the body but it started to make the mesh on the neck warp.
My favourite part of the animation is the laugh at the end, it really captures the emotion of the character, hitting the 2 beats of the main laugh in time with the drum beats of the music really emphasises this.
I think I could have added some more subtleties with his eyes, the eyes dance around in parts, I would go back and act out the part myself seeing how the eyes moved, maybe taking reference video.
The subtle head movement when he says im naked works well, its a cocky confident way of showing he knows there is nothing under the apron and is absolutely fine about it.
I added a secondary action to the chefs hat and it really shows, its a subtle movement and works well with the character.
If I had to go back and do anything differently, I would spend more time on rigging, and knowing how the skinning and painting weights work now I would edit some of the topology, maybe take some of the edge loops out. Taking edge loops out will save time when editing blend shapes which was a slight annoyance.
When animating I found that not having a competent rig was a big issue when trying to create arcs with the character, not having neck movement made it very odd.
Overall I am very happy with the outcome and definitely intend to work and polish the animation over the summer, I really enjoyed this module and felt it was a huge improvement from the last, although I wish I could have added another layer of polish to this before submitting. But deadlines are deadlines.
© 2013 Thousand Word Images by Dustin Abbott
This is a view of the US Customs building as you come out of the Federal Triangle Metro station. Just to give you a sense of scale - those wall sconces are more than six feet in height. This facade towers above you as you enter from the underground. A passing jet gave me my final element here.
Technical info: Canon EOS 6D, Tamron SP 24-70mm VC USD, Processed in Adobe Lightroom 4 and OnOne Perfect B&W
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St Georges Shopping Center - Toulouse, France
HDA : Glass Roof & Facade Consultants
Client : SCI ALTA Saint. Georges
Architect: Guerin Pedroza & Jean Pierre Buffi
Date : 2003
See more at : www.hda-paris.com/
Cmdr. William Herrmann, commanding officer of the amphibious transport dock ship USS New York (LPD 21), renders honors to the guided-missile frigate USS Carr (FFG 52) during a parade of ships in the New York Harbor. New York has 7.5 tons of steel salvaged from the World Trade Center towers forged into her bow and is participating in the 24th annual Fleet Week New York. (U.S. Navy photo by Mass Communication Specialist 1st Class Corey Lewis/Released)
110525-N-2147L-001
NEW YORK (May 25, 2011)
Generated and rendered directly in Structure Synth. I went back to the 1.5 Hinxton version to get some subtle reflection.
Minor post-work in Zone
Segundo Puesto Concurso Plaza Fundadores
Juan Camilo Arango, Juliana Ramirez ,Jose andres, Pablo botero, Amalia Ramirez
Cycles render, got that ebony furniture... Beautiful, eh? Got a bit of help from a friend, but that was mainly for textures, I did all the model myself. If you want, I could get some other perspectives. It's for a game, BTW. Just thought ya'll would enjoy it.
Dewailly Cloister Roof - Amiens -France
HDA : Architect
Client : Ville d’Amiens
Architect: H²O& HDA
Date : 2007
See more at : www.hda-paris.com/
Louvre Islamic Arts Museum - Paris, France
HDA : Technical design & Engineering
Client : Etablissement Public du Musée du Louvre
Architect: Mario Bellini & Rudy Ricciotti
Date : 2006 - 2012
See more at : www.hda-paris.com/